http://117.16.248.84:8080/xmlui/handle/123456789/599 2026-05-22T06:13:05Z http://117.16.248.84:8080/xmlui/handle/123456789/602 To Theo van Gogh. The Hague, on or about Tuesday, 3 January 1882. Van Gogh, Vincent Beste broer, Even kom ik je gelukwenschen met het nieuwe jaar, moge het in alle opzigten een goed jaar voor je zijn en egoistisch voeg ik er bij, voor mij ook.– Nu mij aangaande, ’t zal je misschien niet onaangenaam zijn te vernemen dat ik me heb geinstalleerd in een eigen atelier. Een kamer & alkoof, het licht is helder genoeg want het raam is groot (dubbel zoo groot als een gewoon venster) maar ’t is zoo ongeveer op ’t zuiden. Meubels heb ik in den echten “rijksveldwachtersstijl”,1 zooals gij zegt, genomen maar ik geloof dat de mijnen meer direkt van dat allooi zijn dan de Uwen ofschoon gij het woord hebt uitgedacht. (ik heb b.v. echte keukenstoelen en een echte stevige keukentafel.) Mauve heeft me wat voorgeschoten, f. 100.- om het te huren, te meubileeren & om het raam & licht in orde te maken. Dat is me wel een zekere zorg, ge zult dit begrijpen maar enfin, ’t is de eenige solide manier en op den duur is ’t veel goedkooper een eigen gedoentetje te hebben dan altijd maar weer geld voor een quasi gemeubeleerde kamer te geven. Nu ik heb heel wat gescharrel gehad voor ik het vond en voor ik de meubels zóó schikken kon dat het met ’t geen ik had er voor uitkwam. 1v:2 Maar nu kerel, heb ik een echt eigen atelier en ben er erg mee in mijn schik.– Ik had niet durven hopen dat het reeds zoo spoedig zoo zou loopen maar nu vind ik het best en gij ook hoop ik.– Hoor eens, ge weet er alles van, mijn uitgaven zullen wat meer zijn dan te Etten maar laat ons zien er flink door te scharrelen. M. geeft veel hoop dat ik spoedig aan ’t verdienen zal raken. En nu ik in een eigen atelier zit zal dit alligt een niet ongunstigen indruk maken op sommige personen die tot nu toe dachten dat ik zoo maar wat liefhebberde, rentenierde of lanterfante.– Ik hoop dat gij dezer dagen me wat zult kunnen zenden. Als ik iets hoog noodig had en ik vroeg het aan Mauve, hij zou ’t mij niet weigeren maar hij heeft nu voorloopig waarachtig genoeg gedaan. Het overkomt ieder mensch zoo eens in zijn leven dat hij zich eens installeeren moet en ofschoon ik aanvankelijk tegen het gevoel van schuld opzag, ik voel toch dat het zoo beter is.– 1v:3 Het plan is dat ik geregeld naar model blijf werken. dat is duur & toch is het het goedkoopste. De Bock valt me niet mee op den duur, er is iets van een te zwakke ruggegraat in hem en hij wordt kwaad als men hem sommige dingen zegt die toch maar ’t a.b.c. zijn. Hij heeft gevoel voor landschap, hij weet er een soort charme soms in te brengen (o.a. in een groot Schij dat hij nu onder handen heeft)2 maar ik vind toch geen houvast aan hem. Hij is te vaag en te ijl – du coton filé trop fin.3 Zijn schilderijen zijn een schaduw van een impressie en die impressie is mijns inziens ter nauwernood de moeite waard om zoo dikwijls gerepeteerd te worden. Ik zal niet heel druk omgaan met de schilders. Mauve vind ik iederen dag knapper en degelijker. en wat wil ik meer. Theo ik zal me evenwel een beetje beter moeten gaan kleeden nu. Ik weet nu zoo de directie die ik uitmoet en kan daar rond voor uitkomen, ik zal dus den omgang met menschen niet vermijden – ook niet erg de lui achtervolgen. M. & Jet laten U groeten, à dieu, ik heb nog een boel te doen, geloof me t. à. t. Vincent Dear brother, I’m just writing to wish you a happy New Year, may it be a good year for you in every way and, I add egoistically, for myself as well. Now as to me, it will perhaps not be disagreeable for you to learn that I’m installed in a studio of my own. A room and alcove, the light is bright enough, for the window is large (twice as large as an ordinary window), and it’s more or less facing south. I’ve bought furniture in true ‘village constable style’,1 as you call it, but I think that mine resembles it much more than yours, although it was you who coined the phrase. (I have real kitchen chairs, for example, and a really sturdy kitchen table.) Mauve lent me some money, 100 guilders, to rent it, furnish it and get the window and light fixed up. This is rather a worry, you’ll understand, but anyhow it’s the only sensible way, and in the long run it’s much less expensive having one’s own things than always spending money on yet another semi-furnished room. I’ve had a great deal of difficulty, what with finding it and then arranging the furniture in such a way that I could manage with what I had. 1v:2 But now, old chap, I have a real studio of my own and am terribly pleased with it. I hadn’t dared hope that things would go this quickly, but now I think it superb and hope that you do too. Listen, you know it all, my expenses will be slightly higher than they were in Etten, but let’s put our shoulders to the wheel. M. gives me much hope that I’ll soon be earning something. And now that I’m in my own studio, it will most probably make a not unfavourable impression on some people who until now have thought that I’m merely dabbling, idling or loafing about. I hope that you’ll be able to send me something one of these days. If I needed something urgently and asked it of Mauve, he wouldn’t refuse me, but for the time being he’s really done enough. It happens to everyone at some point in life that he has to set himself up in his own house, and although at first I couldn’t face being in debt, I do feel that it’s better this way. 1v:3 The plan is that I continue to work regularly from a model. That’s expensive, and yet it’s the cheapest way. De Bock ultimately disappoints me, there’s something spineless about him, and he gets angry if one says certain things to him that are actually only the ABCs. He has a feeling for landscape, he sometimes manages to imbue them with a kind of charm (including the large painting he’s now working on),2 but in himself there’s nothing to get hold of. He’s too vague and too insubstantial – cotton too finely woven.3 His paintings are a shadow of an impression, and in my opinion that impression is scarcely worth repeating so often. I won’t associate very much with the painters. I find Mauve more capable and more solid every day. And what more do I want? Theo, I’ll have to start dressing a bit better now, though. Now I know more or less the direction I must take, and can stand up for it openly, so I won’t avoid contact with people – also not follow them too much. M. and Jet send you their regards, adieu, I still have a lot to do, believe me Ever yours, Vincent; 친애하는 형제 여러분, 새해 복 많이 받으시고, 모든 면에서 좋은 한 해가 되시길 바라며, 이기적으로 덧붙이자면 저 자신에게도 좋은 한 해가 되길 기원합니다. 이제 저에 관해서는 제가 제 스튜디오에 설치되어 있다는 사실을 알게 되더라도 불쾌하지 않을 것입니다. 방과 골방, 창문이 크고 (일반 창문의 두 배) 남향이기 때문에 빛이 충분히 밝습니다. 저는 진정한 '마을 순경 스타일'1로 가구를 구입했지만,1 그 문구를 만든 것은 당신이었지만 제 것이 당신의 것보다 훨씬 더 닮았다고 생각합니다. (예를 들어, 저는 진짜 주방 의자와 정말 튼튼한 식탁을 가지고 있습니다.) 모브가 100길더라는 돈을 빌려줘서 창문과 조명을 고치고 가구를 들여놓았어요. 걱정이 되시겠지만, 어쨌든 이것이 유일한 합리적인 방법이고 장기적으로 보면 반쯤 가구가 갖춰진 다른 방에 돈을 쓰는 것보다 자기 물건을 갖는 것이 훨씬 저렴합니다. 저는 가구를 구하는 것부터 제가 가진 물건으로 관리할 수 있는 방식으로 가구를 배치하는 것까지 많은 어려움을 겪었습니다. 1v:2 하지만 지금은 저만의 진짜 스튜디오가 생겼고 정말 만족스러워요. 일이 이렇게 빨리 진행될 거라고는 감히 생각도 못했지만 지금은 정말 멋지다고 생각하며 당신도 그렇게 되길 바랍니다. 알다시피 에텐에서보다 비용이 조금 더 들겠지만 어깨를 펴고 열심히 해보자고요. M. 곧 수입이 생길 거라는 희망이 생겼어요. 그리고 이제 제 스튜디오에 있으니 지금까지 제가 그저 손만 대고, 게으름을 피우거나 게으름을 피운다고 생각했던 사람들에게 좋지 않은 인상을 줄 수 있을 것 같습니다. 언젠가 저에게 무언가를 보내주셨으면 좋겠습니다. 급하게 필요한 게 있어서 모브에게 부탁하면 거절하지 않겠지만, 당분간은 정말 할 만큼 했어요. 인생의 어느 시점에서 누구나 자기 집을 마련해야 하는 것은 누구나 겪는 일이고, 처음에는 빚을 지는 것이 견딜 수 없었지만 지금은 이 방법이 더 낫다고 느낍니다. 1v:3 계획은 계속해서 모델 일을 꾸준히 하는 것입니다. 비용이 많이 들지만 가장 저렴한 방법입니다. 드 복은 궁극적으로 저를 실망시키고, 뭔가 뻔뻔스러운 면이 있고, 실제로는 ABC에 불과한 말을 하면 화를 냅니다. 그는 풍경에 대한 감각을 가지고 있으며 때로는 일종의 매력을 불어 넣습니다 (현재 작업중인 대형 그림 포함),2 그러나 그 자신에게는 붙잡을 것이 없습니다. 그는 너무 모호하고 너무 실체가 없는, 너무 촘촘하게 짜여진 솜 같은 존재입니다.3 그의 그림은 인상의 그림자이며, 제 생각에는 그 인상은 그렇게 자주 반복할 가치가 거의 없다고 생각합니다. 저는 화가들과 그다지 어울리지 않아요. 저는 모브가 매일 더 유능하고 견고해진다는 것을 느낍니다. 더 이상 뭘 원하겠어요? 테오, 이제 옷 좀 더 잘 입어야겠어요. 이제 나는 내가 취해야 할 방향을 어느 정도 알고 있고 공개적으로 옹호 할 수 있으므로 사람들과의 접촉을 피하지 않고 너무 많이 따르지 않을 것입니다. M.과 Jet가 안부를 전합니다. 아직 할 일이 많아요, 저를 믿으세요. 항상 당신의 것입니다, 빈센트 1882-01-03T00:00:00Z http://117.16.248.84:8080/xmlui/handle/123456789/601 To Anthon van Rappard. The Hague, Friday, 30 December 1881. Van Gogh, Vincent den Haag 30 Dec. 1881. Waarde Rappard, Uw schrijven uit Brussel1 heb ik ontvangen. Het bevalt mij volstrekt niet maar enfin, ge hebt geschreven op een moment dat gij zooals ge zelf zegt wat abnormaal waart. Niets of zoo goed als niets in Uw brief houdt steek.– ’k Ben blij ge uit Brussel terug zijt. evenwel ge hoort daar niet mijns inziens en wat betreft de “technische vaardigheid” die ge hoopt op de Akademie op te doen, ge zult daarin vrees ik bedrogen uitkomen. Zelfs dat kan men van lui als Stallaert niet leeren. Maar nu zit ik druk in allerlei werk want ik heb hier een klein atelier gehuurd & tegen 1 Januarij betrek ik dat & heb nog heel wat dingen te beredderen. Als ik later eens wat tot rust kom zal ik U nog wel weer eens bedaard schrijven over een & ander maar neem ’t me niet kwalijk, nu heb ik serieuser dingen te doen dan brieven schrijven. Natuurlijk hebben mijn brieven niet de pretentie om altijd raak te zijn, altijd de dingen precies te verklaren, och neen, ik tast dikwijls mis. Maar als ik U zeg, 1v:2 Rappard die akademische lui over wie ge U bekommert zijn geen dubbeltje waard, en ik bedoel daar Stallaert & Severdonk2 &c. mee, dan meen ik dat van ganscher harte, en ik zeg U, als ik u was zou ik ze laten loopen. Maar ik heb U dit reeds een paar keer gezegd, zeg ’t niet meer, over die heele akademie wil ik geen syllabe meer hooren of geen syllabe er meer over zeggen. ’t is me de moeite niet waard. En ik groet U bij dezen – wat zijn dat nu voor lui, die artisten met wie ge dan lambiek3 hebt gedronken. waarom noemt ge er niet eens een paar bij hun naam.– Zullen dat lui zijn aan wie ge iets hebben zult? Ik hoop het voor U maar betwijfel het zeer.– Goeden dag kerel, ik heb nu geen tijd meer en geen lust ook er in om langer te schrijven. Als ge op Uw atelier zijt werk geregeld met model, daar zult ge meer satisfactie van hebben op den duur. Enfin – bonjour. Vincent 1v:3 Als ge me nog eens zoudt willen schrijven, stuur Uw brieven maar naar Etten. Zij zullen ze wel opsturen – ik hang tusschen 2 of 3 ateliers en ik zal vóór 1 Januarij beslissen welk ik neem4 maar op ’t moment heb ik nog geen vast adres, gij verneemt dat later wel eens. Ik heb Etten verlaten omdat ik al te veel gedonder had met mijn vader over allerlei dingen die eigentlijk de moeite niet waard zijn er over te spreken – over ’t naar de kerk gaan &c. &c. en dat bragt me zelfs als ik hard & veel werkte in een stemming van verveling en koelheid die niet deugt. Dus heb ik mij hier gevestigd en ben blij ik in een andere omgeving ben. Ik zit nu wel een beetje in de zorg maar dat is toch nog beter dan op den duur getwist en gezanik te hebben.– The Hague, 30 Dec. 1881. My dear Rappard, I received your letter from Brussels.1 I don’t like it at all, but still, you wrote it at a time when, as you yourself say, you weren’t quite normal. Nothing or next to nothing in your letter holds water. I’m glad you’re back from Brussels. Still, you don’t belong there in my opinion, and as regards the ‘technical competence’ you hope to gain at the Academy, you will, I fear, end up being deceived. Even that can’t be learned from people like Stallaert. But now I’m busy with all kinds of work, for I’ve rented a small studio here and will be moving into it around 1 January and still have a lot of things to see to. Later, when things have quietened down a bit, I’ll write to you again calmly about this and that, but don’t take offence if I’ve got more serious things to do now than write letters. Of course my letters don’t pretend always to hit the mark, always to explain things precisely, oh no, I’m often wrong about things. But if I tell you, 1v:2 Rappard, those academics you worry about aren’t worth tuppence, and I’m referring to Stallaert and Severdonck2 &c., I mean it with all my heart, and I’m telling you, if I were you I’d forget about them. But I’ve already told you this a couple of times, I won’t say it again, I don’t want to hear another syllable or utter another syllable about the whole academy ever again. It isn’t worth the bother. And I hereby send you my regards – what kind of people are they, those artists with whom you drank Lambiek?3 Why don’t you mention even a couple of them by name? Are they people who’ll be of any use to you? I hope so, for your sake, but I seriously doubt it. Good-day, old chap, I have no more time, nor any desire, to write more. When you’re in your studio, work often with a model, you’ll get more satisfaction from it in the long run. Anyway – good-day. Vincent 1v:3 Should you want to write to me again, send your letters to Etten. They’ll send them on – I’m wavering between 2 or 3 studios and will decide which one to take before 1 January,4 but at the moment I don’t have a fixed address, you’ll learn of it at some point. I left Etten because I was having too much trouble with my father about all sorts of things that actually aren’t worth talking about – about going to church &c. &c., and even if I worked hard and a great deal, it put me in a state of weariness and coldness that’s not good for anything. So I’ve settled down here and am glad to be in different surroundings. I have a few worries, but that’s better than all that quarrelling and nagging.; 헤이그, 1881년 12월 30일. 친애하는 라파드에게, 브뤼셀에서 당신의 편지를 받았습니다.1 나는 전혀 마음에 들지 않지만 여전히 당신 자신이 말했듯이 당신이 정상이 아니었을 때 썼습니다. 당신의 편지에는 물이 들어 있지 않거나 거의 없습니다. 브뤼셀에서 돌아와서 기뻐요. 하지만 제 생각에 당신은 그곳에 속하지 않으며 아카데미에서 얻고자하는 '기술적 역량'에 관해서는 결국 속게 될 것입니다. 그것조차도 스탈라르트 같은 사람에게는 배울 수 없습니다. 하지만 지금은 이곳에 작은 스튜디오를 빌려서 1월 1일경에 이사할 예정이고 아직 해야 할 일이 많기 때문에 모든 종류의 일로 바쁘게 지내고 있습니다. 나중에 일이 좀 잠잠해지면 이런저런 얘기를 차분하게 다시 편지를 쓰겠지만, 지금 편지 쓰는 것보다 더 심각한 일이 있다고 해서 기분 나쁘게 생각하지 마세요. 물론 제 편지가 항상 정확한 척하고, 항상 정확하게 설명하는 척하는 것은 아닙니다. 하지만 1 대 2 라파드, 당신이 걱정하는 학자들은 가치가 없다고 말한다면, 그리고 내가 스탈라르트와 세버동크2 등을 언급하는 것은 진심을 다해 말하고 있으며, 내가 당신이라면 그들을 잊어 버릴 것이라고 말하고 있습니다. 하지만 이미 두어 번 말씀드렸으니 다시는 그 얘기를 하지 않겠습니다. 다시는 아카데미 전체에 대해 한 음절도 더 듣거나 말하고 싶지 않아요. 귀찮게 할 가치가 없으니까요. 그리고 나는 여기에 내 안부를 보냅니다-그들은 어떤 사람들입니까, 당신이 함께 일하는 예술가들입니까? 람비크를 함께 마신 아티스트들은 어떤 사람들인가요? 3 그 중 몇 명이라도 이름을 언급해 주시겠어요? 그들이 당신에게 도움이 될 사람들입니까? 당신을 위해서라도 그러길 바라지만 그럴 것 같진 않네요. 안녕, 친구, 난 더 이상 글을 쓸 시간도, 욕심도 없어. 스튜디오에 있을 때 모델과 자주 작업하면 장기적으로 더 많은 만족감을 얻을 수 있습니다. 어쨌든 좋은 하루 되세요. Vincent 1v:3 저한테 다시 편지를 쓰고 싶으면 에텐에게 편지를 보내주세요. 두세 군데 스튜디오 사이에서 고민하고 있는데 1월 1일 이전에 어느 스튜디오로 갈지 결정할 거예요.4 하지만 지금은 주소가 정해지지 않았으니 언젠가는 알게 될 거예요. 제가 에텐을 떠난 이유는 아버지와 교회 가는 것 등 사실 얘기할 가치도 없는 이런저런 일로 너무 힘들었고, 열심히 일해도 피곤하고 냉랭한 상태가 되어서 아무것도 할 수 없었어요. 그래서 이곳에 정착했고 다른 환경에 있는 것이 좋습니다. 몇 가지 걱정이 있긴 하지만 다투고 잔소리하는 것보다는 낫죠. 1881-12-30T00:00:00Z http://117.16.248.84:8080/xmlui/handle/123456789/600 To Theo van Gogh. Brussels, January 1881. Van Gogh, Vincent Bruxelles Janvier 81. Mon cher Theo, Tu me pardonneras tout à fait lorsque tu sauras que je t’ai ecrit ma lettre précedente dans un moment de malaise. Mes dessins n’allaient pas & ne sachant de quel côté me tourner je me suis mis à écrire. Certes j’aurais mieux fait d’attendre un meilleur moment mais par ceci tu verras précisément que moi-même appartiens sans aucun doute à cette classe de gens dont je te parlais dans ma lettre, soit à cette classe de personnes qui ne réfléchissent pas toujours à ce qu’ils disent & font. Cela étant, brisons là-dessus.– Sachez toujours ceci. Dans les derniers jours il y a eu un changement favorable. Je viens de terminer au moins une douzaine de dessins ou plustôt croquis au crayon & à la plume qui sont, à ce qui me parait, déjà un peu mieux. Ça ressemble vaguement à certains dessins de Lançon ou à certaines gravures s. bois anglaises, mais plus maladroit, plus gauche encore.a Ca représente entre autres un commissionnaire, un charbonnier, balayeur de neige, promenade d.l. neig[e], vieilles femmes, type de vieillard (“Ferragus” de l’histoire des treize de Balzac)2 &c.. Je t’en envoie petites, “En route” & “Devant les tisons”. Je vois bien que ce n’est pas encore bon, toutefois ça commence à se dégager. J’ai presque tous les jours quelque modèle, un vieux commissionaire ou quelqu’ouvrier ou gamin que je fais poser. Dimanche prochain j’aurai peutêtre un ou deux soldats qui viendront poser. Et puisque donc maintenant je ne suis plus de mauvaise humeur je me fais une toute autre & meilleure idée de toi & de tout le monde en général. J’ai aussi dessiné de nouveau un paysage, soit une bruyère,4 ce que je n’avais pas fait depuis longtemps. J’aime beaucoup le paysage mais encore 10 fois mieux ces études de moeurs parfois d’effrayante vérité tels que Gavarni, Henri Monnier, Daumier, de Lemud, Henri Pille, Th. Schuler, Ed. Morin, G. Doré (par ex. dans son Londres), A. Lançon, de Groux, Felicien Rops7 &c. &c. les ont dessinées si magistralement. Maintenant sans osant en aucune manière prétendre monter si haut que ceux là, toutefois en continuant à dessiner ces types d’ouvriers &c. j’espère bien arriver à être plus ou moins capable de travailler pour l’illustration de journaux ou de livres. Principalement lorsque je serai à même de me payer davantage des modèles & aussi des modèles de femmes, je ferai encore des progrès, je le sens & je le sais. Et j’arriverai probablement aussi à savoir faire des portraits. Mais c’est à la condition de travailler beaucoup, pas un jour sans une ligne, comme disait Gavarni. Il est donc entendu que je reste provisoirement ici en attendant que peutêtre tu aurais chose ou autre à me proposer. Seulement ecris moi de temps à autre. Je suis maintenant occupé à dessiner pour la 3me fois toutes les Exercices au fusain de Bargue. Tu m’as parlé d’un changement dans le personnel des employés de la maison G&Cie, puis d’un autre changement dans ta propre position.– Je t’en félicite & quant à ces Messieurs G&Cie je suis porté à croire qu’il y a lieu de les féliciter aussi du déblayement. J’ai toujours pensé que Ces Messieurs eux mêmes étaient animés d’un esprit supérieur & plus noble que celui qu’avaient ceux qui maintenant enfin viennent de décamper. Peutêtre la position que les derniers nommés ont occupé si longtemps dans la maison, leur influence &, puisque ces Messieurs G&Cie les laissaient faire, leur domination – ont repugné à quelques autres employés que ces Messieurs auraient peutêtre bien fait de conserver, mais qui, poussés à bout, ont fini en quelque sorte par casser leur épée. Puisque dans le temps tu m’as vaguement parlé de venir à Paris, sachez que je ne demanderais pas mieux que d’y aller effectivement un de ces quatre matins – si j’étais assez heureux de savoir que j’y trouverais de l’emploi pour gagner ad minimum 100 francs par mois – toutefois sachez aussi que puisque j’ai commencé le dessin, ce n’est pas pour le laisser là, conséquemment je chercherais principalement à continuer & à avancer de ce côté-là. Non seulement le dessin de figures & scènes de moeurs demande des connaissances du dessin en tant que metier mais en outre de fortes études de littérature, de physiognomonie &c. qui sont difficiles à acquérir. Voila assez pour aujourd’hui; je te serre la main, as tu un moment de disponible, écris moi & crois moi t. à t. Vincent 72 Bd du Midi Un de ces jours j’espère aller voir M. Horta. Brussels, January 81. My dear Theo, You will entirely forgive me when you realize that I wrote you my last letter at a bad time. My drawings weren’t going well, and not knowing which way to turn I began to write. I would certainly have done better to have waited for a better moment, but this way you’ll clearly see that without a doubt I myself belong to that class of people of whom I was speaking to you in my letter, namely to that class of persons who don’t always think about what they’re saying and doing. That being so, let’s leave it there. Always be sure of this. In the past few days there’s been a change for the better. I’ve just finished at least a dozen drawings, or rather, pencil and pen croquis, which are, it seems to me, already a little better. They vaguely resemble certain drawings by Lançon1 or certain English wood engravings, but even clumsier, more awkward.a They depict, among others, a delivery man, a miner, man sweeping snow, a walk in the snow, old women, type of old man (‘Ferragus’, from Balzac’s L’histoire des treize)2 &c. I’m sending you 2 small ones, ‘On the road’ and ‘In front of the embers’.3 I can clearly see that it’s not good yet; it’s beginning to emerge, though. I have a model almost every day, an old delivery man or some labourer or lad whom I have pose. Next Sunday I’ll perhaps have one or two soldiers who’ll come to pose. And so, since I’m no longer in a bad mood now, I have a quite different and better idea of you and of the whole world in general. I’ve also drawn a landscape again, namely a heath,4 which I hadn’t done for a long time. 1v:2 I like landscape very much, but 10 times more these studies of everyday life, sometimes of terrifying truthfulness, such as Gavarni, Henry Monnier,5 Daumier, De Lemud, Henri Pille, T. Schuler, E. Morin, G. Doré (in his Londres, for example),6 A. Lançon, Degroux, Félicien Rops7 &c. &c. have drawn with such mastery. Now without in any way daring to claim to rise as high as them, nevertheless, by continuing to draw these types of workmen &c., I’m confident of succeeding in becoming more or less capable of working in magazine or book illustration. First and foremost, when I’ll be able to pay more for models, and female models too, I’ll make further progress; I feel it and I know it. And I’ll probably also succeed in being able to do portraits. But that depends on working hard; not a day without a line, as Gavarni used to say.8 So it’s understood that I stay here for the time being, while waiting for you to have something or other to offer me, perhaps. But write to me once in a while. I’m now busy drawing all Bargue’s Exercices au fusain for the 3rd time. You mentioned to me a change in the composition of the staff at the firm of G&Cie, and of another change in your own position.9 I congratulate you on it, and as for those Messrs G&Cie, I’m inclined to believe that there is occasion to congratulate them, too, on clearing out dead wood. 1v:3 I’ve always thought that Those Gentlemen themselves were moved by a superior and nobler spirit than that of those who have at last just cleared off. Perhaps the position that the latter occupied for so long in the firm, their influence and, since these Messrs G&Cie allowed them to do so, their domination — repelled some other employees, whom these Gentlemen could perhaps have done well to retain, but who, driven to the limit, somehow ended up quitting the service.10 Since you spoke to me vaguely about coming to Paris in the past,11 be sure that I would ask for nothing better than indeed to go there one of these days — if I was fortunate enough to know that I would find work there to earn at least 100 francs a month — be sure also, however, that since I’ve made a start with drawing, it isn’t in order to leave it at that; consequently I would mainly try to continue and to make progress in that direction. Drawing figures and scenes of everyday life requires not only knowledge of drawing as a craft, but in addition, rigorous study of literature, physiognomy &c., which are difficult to acquire. That’s enough for today; I shake your hand; if you have a spare moment, write to me, and believe me Ever yours, Vincent 72 blvd du Midi I hope to go to see Mr Horta one of these days.12; 81년 1월, 브뤼셀 내 사랑하는 테오, 내가 안 좋은 시기에 마지막 편지를 썼다는 사실을 알게 된다면 전적으로 용서해줄 거예요. 그림이 잘 그려지지 않았고 어느 방향으로 돌려야 할지 몰라 글을 쓰기 시작했어요. 더 좋은 순간을 기다렸더라면 더 좋았을 텐데, 이렇게 하면 의심할 여지없이 나 자신이 편지에서 당신에게 말한 부류의 사람들, 즉 자신의 말과 행동에 대해 항상 생각하지 않는 부류의 사람들에 속한다는 것을 분명히 알 수 있을 것입니다. 그렇기 때문에 여기까지만 말씀드리겠습니다. 항상 이 점을 명심하세요. 지난 며칠 동안 더 나은 방향으로의 변화가 있었습니다. 방금 연필과 펜 크로키 그림 12점 이상을 완성했는데, 제 생각에는 이미 조금 더 나아진 것 같습니다. 랑송의 특정 그림1이나 영국의 특정 목판화와 막연하게 닮았지만 더 서투르고 어색합니다.a 그들은 무엇보다도 배달부, 광부, 눈을 쓸고있는 남자, 눈 속을 걷는 남자, 늙은 여자, 일종의 노인 (발자크의 L' histoire des treize에서 'Ferragus'2 &c)을 묘사합니다. '길 위에서'와 '불씨 앞에서'라는 작은 작품 두 개를 보내드립니다.3 아직은 미흡하지만 조금씩 나아지기 시작하고 있다는 것을 분명히 알 수 있습니다. 저는 거의 매일 늙은 배달부나 노동자, 소년을 모델로 삼아 포즈를 취하고 있습니다. 다음 주 일요일에는 아마도 한두 명의 군인이 포즈를 취하러 올 거예요. 그래서 이제 더 이상 기분이 나쁘지 않으니 여러분과 전 세계에 대한 생각이 아주 달라지고 더 좋아졌습니다. 또한 오랫동안 그리지 않았던 풍경, 즉 황야4를 다시 그렸습니다. 1v:2 저는 풍경을 매우 좋아하지만, 가바르니, 헨리 모니에,5 드미에, 드 르무드, 앙리 필, T. 슐러, E. 모린, G. 도레(예를 들어 그의 런던에서),6 A. 랑송, 드그루, 펠리시앙 롭스7 등이 그런 숙련도로 그린 일상, 때로는 무서운 진실성에 대한 연구를 10배 더 좋아합니다. 이제 감히 그들처럼 높이 올라간다고 주장할 수는 없지만, 그럼에도 불구하고 이런 유형의 작업자 등을 계속 그리면 잡지나 책 일러스트레이션 분야에서 어느 정도 성공할 수 있을 거라고 확신합니다. 무엇보다도 모델료를 더 많이 받을 수 있게 되면, 그리고 여성 모델도 더 많이 받을 수 있게 되면 더 발전할 수 있을 거예요. 그리고 초상화 작업도 성공할 수 있을 거예요. 하지만 그건 가바르니의 말처럼 하루도 줄을 서지 않는 날이 없이 열심히 노력하는 것에 달려 있습니다.8 그러니 당분간은 여기 머물면서 제게 뭔가 다른 제안이 있을 때까지 기다리는 것도 이해해 주세요. 하지만 가끔씩은 편지를 보내주세요. 저는 지금 바그의 연습곡을 세 번째로 모두 그리느라 바쁩니다. 지앤씨의 직원 구성에 변화가 생겼다고 하셨고, 본인 직책에도 변화가 생겼다고 하셨습니다.9 저는 이를 축하하며, G&Cie 직원들에게도 죽은 나무를 치우는 것에 대해 축하할 일이 있다고 생각합니다. 1v:3 저는 항상 그 신사분들 스스로가 마침내 방금 떠난 사람들보다 더 우월하고 고귀한 정신에 감동했다고 생각했습니다. 아마도 후자가 회사에서 오랫동안 차지한 지위와 영향력, 그리고 이 신사분들이 그렇게 하도록 허용했기 때문에 그들의 지배력은 이 신사분들이 잘 유지했을 수도 있지만 한계에 몰린 다른 직원들을 반발하게 만들었고, 결국 어떻게든 회사를 그만두게 만들었습니다.10 당신이 과거에 파리에 오는 것에 대해 막연하게 나에게 말했으므로,11 내가 언젠가 실제로 거기에가는 것보다 더 나은 것을 요구하지 않을 것입니다. 운이 좋다면 그곳에서 한 달에 100프랑 이상을 벌 수 있는 일자리를 찾을 수 있을 것입니다 - 그러나 그림 그리기를 시작했으니 그것으로 끝나는 것이 아니므로, 나는 주로 그 방향으로 계속 발전해 나가려고 노력할 것입니다. 인물이나 일상의 풍경을 그리려면 그림에 대한 기술적인 지식뿐만 아니라 문학, 생리학 등에 대한 철저한 공부가 필요하기 때문에 쉽게 습득하기는 어렵습니다. 오늘은 이것으로 충분합니다. 악수를 청합니다. 시간이 남으면 저에게 편지를 보내주십시오. 항상 당신의 것입니다, Vincent 72 blvd 뒤 미디 언젠가 호르타 씨를 만나러 가고 싶어요.12 1881-01-01T00:00:00Z